Recorded live in my living room on Monday night, the debut episode of this four-song, one-take podcast is my way of making sure I DO something with the piano in the corner. Each song fits a certain theme (this episode, it's Tom Waits covers), and there are no re-takes or edits allowed. It's the Pianimal -- and it's ALIVE! This week's tracks: 1. New Coat of Paint 2. Big in Japan 3. San Diego Serenade 4. All The World is Green Next episode’s theme is 90s Pop Songs, in which The Pianimal will delve deeply and bravely into the dark realm of boy bands and great dancing. You KNOW you wish you still had an excuse to listen to Backstreet. To subscribe to the podcast or to see the oh-so-cute graphic I drew for the Pianimal, visit the post on my website for Episode 1. Less

Most people who write some of their stuff are inspired by the break up part of their relationships. This song is about a women I onced loved who asked me when do I get my song. After hearing other songs about past relationships. Most women inspire only one song in my lifes tails. She on the other hand has become the focus of the her that I speak of in so many songs. Only thing is she doesnt ever get to hear these songs. She has moved on and is happy with someone else. I also have moved on but Im just happy alone I guess. The beginning of the song was meant to sound some what of the begining of The End by the Doors as I remember setting the stage. I still write mostly of her to this day even though Im over her. Listen Less

Demo of a song that my band is in the process of recording for our album. The final version has a different arrangement, is possible more epic, and is slightly shorter. Looking forward to your collective indifference! Less

Another true story from my family... Seems like forever since I posted a song. This is a true story, which happened in 1990, to my Dad's old roommate from university. Common wisdom is that another man would not have been able to acheive what Alan achieved; a six mile swim in choppy seas with his son strapped to his back. An amazing feat that deserved a song. Less

"The music starts, the singer screams, there's feedback all to hell. I think I've played this gig before..." Less

sorry about deleting that last podcast, but here is some rain hitting a tin roof for you to listen to instead. Less

Guitar solo over a simple (guitar) accompaniment. Recorded with my new electric guitar. Accompaniment: Dm A (repeated) Solo: a carnatic raga. This work is licensed under a Creative Commons Attribution-Noncommercial-Share Alike 2.5 India License. Less

Improvised set by saxophonist Wally Shoup, guitarist Ed Petry, and percussionist Joshua Manchester. 1/5/8 Less

Tema extraido del disco de Ricardo Arjona QUIEN DIJO AYER, 2007. http://blogarjona.net/2007/12/arjona-locutor-en-klove-107-5-fm.html Less

Tema extraido del disco de Ricardo Arjona QUIEN DIJO AYER, 2007. http://blogarjona.net/2007/12/arjona-locutor-en-klove-107-5-fm.html Less

As I said on the blog, this is taken from my brother’s Rush – All The World’s A Stage – 8 TRACK!!! I recorded it to cassette and just found it while transfering all my old cassettes to the laptop. Neil Peart is the greatest drummer ever to smack a cymbal or pick up a set of sticks. Less

Jeb Bishop trombone, Jason Roebke bass, Joshua Manchester drums, Live at Hotti Biscotti Chicago 2007-10-07 Go to joshuamanchester.com to buy the whole album! Less

During this set, beardtongue broke his bass drum pedal, lost 5 sticks, lost the hi-hat clutch while the stand rotated out of range, and knocked the snare drum off its stand by the time the performance was over. I hate to be that tommy aldridge kind of drummer who finishes off a solo by knocking everything over, but if there is one night in my life, and if ever a drumset wanted to be kicked around, it was my drumset last friday night. You can hear it a little bit. Less

St. Petersburg Noise artists SPIN and Mr. Fantastic combine to form the noise group The Uhhh. . . . which in turn were joined by Tampa musicians Dianna and Dave of Chiari Network, and myself on drumset. There is a loud feedback whine which I believe was intentional, so I left it in the recording. Less

This solo drumset improvisation was recorded in one take with three microphones; one under the snare drum, one overhead, and a contact mic placed on the bass drum shell. Each mic was assigned different effects to give a chorus effect. Less

The guitar-drums duo of Ingram and Manchester marks a decided endeavor to explore musical understatement, a project that, by considering its relationship with “silence” respects some of the more restrained acoustic qualities of its instrumentation. The resulting compositional vehicles therefore take on a kind of “slow motion sleight of hand,” in which exposition and objuscation are readily available elements to be shuffled. This invitation into process, however, is rendered more enticing by means of the duo’s constant exploration of fresh, cinematic coloration. -Cliff Ingram Less

The guitar-drums duo of Ingram and Manchester marks a decided endeavor to explore musical understatement, a project that, by considering its relationship with “silence” respects some of the more restrained acoustic qualities of its instrumentation. The resulting compositional vehicles therefore take on a kind of “slow motion sleight of hand,” in which exposition and objuscation are readily available elements to be shuffled. This invitation into process, however, is rendered more enticing by means of the duo’s constant exploration of fresh, cinematic coloration. -Cliff Ingram Less